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Showing posts with label <b>videopoetry</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<h2 class='date-header'><span>Wednesday, December 11, 2013</span></h2>

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<h2 class='date-header'><span>Monday, November 19, 2012</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><iframe width="640" height="480" src="//www.youtube.com/embed/_Tu1K39Qcm8" frameborder="0" allowfullscreen></iframe></p><p class=MsoNormal align=center style='text-align:center'><b style='mso-bidi-font-weight: normal'><span style='font-size:14.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://webspace.ringling.edu/~awatkins/"><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Alison Watkins</span></a></span></b><span class=GramE><span style='font-size:14.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>:</span></span><span style='font-size:14.0pt;line-height:115%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><br />
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Videopoetry: Relation of Word to Image<o:p></o:p></span></p>
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<h2 class='date-header'><span>Thursday, August 19, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><object height="385" width="480"><param name="movie" value="//www.youtube.com/v/MR7HU6xeAHo&amp;hl=en_US&amp;fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="//www.youtube.com/v/MR7HU6xeAHo&amp;hl=en_US&amp;fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object></p>

<p class=MsoNormal align=center style='text-align:center'>Rachel &amp; Charles <span style='mso-bidi-font-size:10.0pt;line-height:115%;mso-bidi-font-family:Arial'>&#8211;</span><br> that last line was written by Lew Welch</p>
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<h2 class='date-header'><span>Sunday, August 08, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><object height="385" width="640"><param name="movie" value="//www.youtube.com/v/Jzf2T2q4h-Q&amp;color1=0x3a3a3a&amp;color2=0x999999&amp;hl=en_US&amp;feature=player_embedded&amp;fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowScriptAccess" value="always"></param><embed src="//www.youtube.com/v/Jzf2T2q4h-Q&amp;color1=0x3a3a3a&amp;color2=0x999999&amp;hl=en_US&amp;feature=player_embedded&amp;fs=1" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="640" height="385"></embed></object></p>

<p class=MsoNormal align=center style='text-align:center'><span style='color:black;mso-themecolor:text1'><a href="http://www.betweenpageandscreen.com/video"><span style='color:black; mso-themecolor:text1'>This may be an ad</span></a></span>, but it&#8217;s a great one!</p>
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<h2 class='date-header'><span>Sunday, June 13, 2010</span></h2>

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<h2 class='date-header'><span>Friday, February 19, 2010</span></h2>

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<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>In the comments stream yesterday, Steve Fama noted that his favorite videopoem was Bruce Conner&#8217;s <i style='mso-bidi-font-style:normal'>5:10 to Dreamland. </i>You can&#8217;t find that on the web, as such, because Conner worked hard to prevent his work from turning up there. Mark Charles Brown&#8217;s <i style='mso-bidi-font-style: normal'><a href="//www.youtube.com/watch?v=h5QFJcwZktw"><span style='color:black;mso-themecolor:text1'>Erasing Dreamland</span></a>, </i>however, is a film that &#8220;uses&#8221; Conner&#8217;s film in its entirety &#8211; it&#8217;s the left side of this dyptich. On the YouTube site, Fama notes that Conner had no problem with this usage or its appearance on the web. <a href="http://www.myspace.com/patgleeson"><span style='color:black;mso-themecolor: text1'>Patrick Gleeson</span></a>, whose music scores both films, was somebody I used to run into around SF State &amp; the Haight circa 1967 &#8211; he&#8217;s probably the guy who made me realize that music could be electronic &amp; free form. <o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>My own favorite videopoem would be <i style='mso-bidi-font-style:normal'><a href="http://www.ubu.com/film/mouris.html"><span style='color:black;mso-themecolor: text1'>Frank Film</span></a> </i>by Frank &amp; Caroline Mouris, which can be viewed on the Ubu website by clicking that link. <i style='mso-bidi-font-style: normal'>Frank Film </i>is also my nomination as the best film ever to win an Oscar. It is, I should note, a dramatic monolog (and much more). <o:p></o:p></span></p>

<p class=MsoNormal><span style='color:black;mso-themecolor:text1'>I doubt either Conner or the Mouris&#8217; had the idea of videopoetry in mind when they created these. I doubt the word "video" was in their heads at all, in fact. That&#8217;s a whole other discussion.<o:p></o:p></span></p>
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<h2 class='date-header'><span>Saturday, February 13, 2010</span></h2>

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<p class=MsoNormal align=center style='text-align:center'><span style='color:black;mso-themecolor:text1'>I love a part of <br> <a href="http://dbqp.blogspot.com/2010/01/egg.html"><span style='color:black; mso-themecolor:text1'>Geof Huth&#8217;s <i style='mso-bidi-font-style:normal'>Egg</i></span></a><i style='mso-bidi-font-style:normal'><br> </i>that Geof never even mentions:<br> the scrape in this video,<br> like brushes on a high-hat set,<br> of paper against paper<o:p></o:p></span></p>
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<h2 class='date-header'><span>Sunday, May 17, 2009</span></h2>

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<p class=MsoNormal align=center style='text-align:left'><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>For more <a href="//www.youtube.com/watch?v=9AkWQ8rm9Qc"><span style='color:black'>information</span></a>.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p></o:p></span></p>
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<h2 class='date-header'><span>Tuesday, May 12, 2009</span></h2>

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<span class=SpellE><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial'>Langpo</span></i></b></span><b style='mso-bidi-font-weight:normal'><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial'>, <span class=SpellE>vidpo</span>, <span class=SpellE>vispo</span></span></i></b><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial'>: RS, Tom Konyves, Geof <span class=GramE>Huth</span><br>
(Photo by Nancy F. Huth)<o:p></o:p></span></i></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://12or20questions.blogspot.com/2007/11/12-or-20-questions-with-tom-konyves.html"><span style='color:black'>Tom Konyves</span></a> has a mission. The poet, a longtime veteran of the <a href="http://www.vehiculepoets.com/videopoem.htm"><span style='color:black'>Montreal</span></a> &amp; <st1:City w:st="on"><st1:place w:st="on">Vancouver</st1:place></st1:City> poetry scenes whose day job has typically been in video production &amp;/or teaching film &amp; video, wants videopoetry to stand on its own as a literary genre. You might think that would be easier now than ever, what with the presence of YouTube proliferating videos in vast numbers. In one way, you&#8217;d be right. If you search for &#8220;video poetry&#8221; in YouTube, you get 134,000 hits. Search for it as one word and you still get about ten percent of that. But Saturday before last, Tom &amp; I sat along the main square in Bury and he disabused me of that presumption. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Imagine<span class=GramE>,</span> if you will, the early days of visual poetry, back when it was still called concrete poetry, if you suddenly had a flood of thousands of participants. Far from ensuring the ongoing evolution of <span class=SpellE>vispo</span>, that kind of early inundation might well have kept it from developing a vocabulary all its own, made it impossible to actually see what the terms and implications might be in developing an art that was, at once, both linguistic &amp; graphic, reduced it to a fad.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Videopoetry, one word or two, has added complications to deal with. First of all, one can begin with almost any definition of the poem, from the most graphic to almost pure sound poetry to the most traditional verse form conceivable. Second: what one adds, when one <span class=GramE>adds</span> video, can itself differ dramatically from case to case. At one extreme, one might have what is simply a graphic text that employs movement (with or without color). At the other, one might have an elaborate staging of a text, involving actors, special effects, <span class=GramE>a</span> score. Because video derives historically from film, it brings with it a culture of collaboration that is quite apart from what goes on in most poetry. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Even if you subtract from this category all the videos that are simply documentation of readings &#8211; by far the most numerous &#8211; the range of what <i style='mso-bidi-font-style:normal'>might </i>be done is simply staggering. And the temptation to simply import what has been done elsewhere, in other film contexts, can be overwhelming. Thus <a href="//www.youtube.com/watch?v=iuTNdHadwbk"><span style='color:black'>Billy <span class=GramE>Collins&#8217; <i style='mso-bidi-font-style:normal'>The</i></span><i style='mso-bidi-font-style:normal'> Dead</i></span></a> is animated by Juan <span class=SpellE>Delcan</span>, neither poem nor cartoon threatening to break any new ground whatsoever. At least the visual is in the same spirit as the text itself. At the other end of the spectrum, many of the videos of <a href="//www.youtube.com/results?search_type&amp;search_query=nico+vassilakis&amp;aq=f"><span class=SpellE><span style='color:black'>Nico</span></span><span style='color:black'> Vassilakis</span></a> attempt to tackle the potential in this new form head on. The role of text, sound, movement and color may all be in play, but Vassilakis approaches them closer to the way Cecil Taylor approaches the piano &#8211; as something to be explored, as such. A work like Konyves&#8217; own <i style='mso-bidi-font-style:normal'><a href="//www.youtube.com/watch?v=GxHQ7jnLwlY"><span style='color:black'>Sign Language</span></a> </i>(1985) stakes out a middle ground, using found language principally in signage &amp; graffiti to articulate a vision of life lived on the economic edge. A jazz score underscores the point-of-view as clearly as does the documentary mode employed. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Konyves tells me that he sees this landscape dividing into five major tendencies, although I don&#8217;t yet know what those are. He dates his own usage of the term videopoem to 1978, tho notes that Richard Kostelanetz may have been using it as early as 1973. 1973 just also happened to be the year that Frank &amp; Caroline <span class=SpellE>Mouris</span>&#8217; <i style='mso-bidi-font-style:normal'><a href="http://www.ubu.com/film/mouris.html"><span style='color:black'>Frank Film</span></a> </i>won the Oscar for best short subject. If <i style='mso-bidi-font-style:normal'>Frank Film </i>isn&#8217;t a videopoem, it may only be because the category was still embryonic when it was filmed. It is interesting to think that the ingredients were all there 30-plus years ago &amp; yet videopoetry is still very much in its infancy. But as I noted to Tom, if you trace the history of the prose poem back to <a href="http://en.wikipedia.org/wiki/Aloysius_Bertrand"><span style='color:black'>Aloysius Bertrand&#8217;s</span></a> <span class=SpellE><i style='mso-bidi-font-style:normal'>Gaspard</i></span><i style='mso-bidi-font-style:normal'> de la <span class=SpellE>nuit</span>, </i>the videopoem isn&#8217;t really so far behind schedule. What it mostly lacks, so far as I can tell, is its Baudelaire &#8211; the one individual whose work will force everyone to sit up and take notice. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>One reason for this lack might well be an issue that all of these poets &#8211; from Collins to Vassilakis &#8211; are forced to confront. For videopoetry to exist, the form has to be able to distinguish itself from the gumbo that is intermedia. Or perhaps polymedia would be a more accurate term. Collins&#8217; piece is nothing more than a reading of the piece over which a cartoon has been superimposed. The use of language is more interesting in the pieces by Konyves &amp; Vassilakis, but each imports elements from other media, other worlds. Vassilakis treats his sound track more as a score, and more than a few of his visuals <span class=SpellE>harken</span> back to the heyday of lightshows that accompanied the rock bands of the late &#8216;60s and early &#8216;70s. One could argue further that his conception of the poem here likewise depends heavily on <span class=SpellE>vispo</span> at least as a starting place. In that regards, Konyves&#8217; use of appropriation &amp; quotation has much in common with some aspects of <span class=SpellE>langpo</span>, some of the <st1:place w:st="on"><st1:PlaceName w:st="on">New York</st1:PlaceName> <st1:PlaceType w:st="on">School</st1:PlaceType></st1:place> (think <span class=SpellE>Berrigan&#8217;s</span> <i style='mso-bidi-font-style:normal'>Sonnets</i>), Burroughs &amp; the <span class=GramE>cut-up,</span> and more recent phenomena such as flarf &amp; conceptual poetics. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>There is of course nothing wrong with <span class=GramE>inter</span>- or polymedia &#8211; but the dynamics of everything in the pot, so to speak, comes at a steep price if what you&#8217;re after is the evolution of a particular medium. I&#8217;m tempted to return to Baudelaire&#8217;s famous letter to <span class=SpellE>Arsene</span> <span class=SpellE>Houssaye</span> which serves as preface to <i style='mso-bidi-font-style:normal'>Paris Spleen, </i>written 33 years after <span class=SpellE><i style='mso-bidi-font-style:normal'>Gaspard</i></span><i style='mso-bidi-font-style:normal'>, </i>and which Baudelaire characterizes as having<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:.5in;margin-bottom:12.0pt;margin-left:.5in'><span class=GramE><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>neither</span> </span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;
color:black'> head nor tail, since, on the contrary, everything in it is both head and tail, alternately and reciprocally.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Thirty-six years after the <span  class=SpellE>Mourises</span>&#8217; <i style='mso-bidi-font-style:normal'>Frank Film, </i>I have yet to see a work that more completely fit my own sense of what a videopoem might <span class=GramE>be,</span> tho both Konyves &amp; Vassilakis seem to me to be in the ballpark. In each we can glimpse some aspect of what the medium holds. It will be interesting to see how it unfolds going forward, particularly when the technology takes us away from video as we now know it (e.g. flash poetry), which is as predictable as overcast skies in the North of England.<o:p></o:p></span></p>
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